The Wrestler

Darren Aronofsky’s The Wrestler (2008) should have been more appropriately entitled “the wrestler and the stripper.” There is more in the “friendship” between Randy (Mickey Rourke) and Cassidy (Marisa Tomei) than the usual setting of boy-meets-girl. One is a professional wrestler whose prime period has come to an end, and is painfully resuscitated through weekend shifts in the New Jersey clubs, while the other is a mid-aged professional stripper, whose “colleagues” tend to be younger women in their twenties, with the kind of “I shouldn’t be here in the first place” attitude. Both invest their lives very professionally in their respective jobs. However, at face value, nothing brings wrestling to stripping, one is mostly dominated by macho male figures, where the body is at the same time glorified, trashed, and subject to great physical kinky violence, while the other is mostly female, and where violence is symbolic in nature, even though it could turn nasty at times. Which is precisely what brings wrestling to stripping: the body. Both are physical performances, situated within closed spaces, and both need a great deal of motivation, discipline, and professionalism. And that’s precisely what we’re offered to see in the “Wrestler”: fairly accurate descriptions of both spaces, which do not connect per se as physical and professional spaces, but only though the “connection” that Randy makes in his van every once and a while to meet Cassidy in her working club. It is indeed those “rides” in the New Jersey area (that same area of the Sopranos, David Chase, and Philip Roth), portrayed as if they were rides in the middle-of-nowhere, in cities and suburban spaces where emotions of intimacy have vanished, which awkwardly connect the two disconnected milieus. Randy first approaches Cassidy very professionally, generously paying her for “private” lap dances mixed with “private” talks. In the wake of his heart attack and bypass surgery, and recovery in a hospital room and then in the loneliness of his shabby trailer, Randy feels that urge to get more “intimate” with Cassidy. It is indeed that longing for “intimacy,” which all of a sudden comes as an urge in the middle of the film that feels awkward, as both Randy and Cassidy have protected themselves all their lives within the professional spaces of wrestling and stripping from the vagaries of personal relationships and intimacy. When Randy wanted to tell Cassidy about his heart operation and the decision to drop wrestling for the rest of his life, he realized that he couldn’t do it in the stripping club—in the professional space where he had met her as performer. He insists that they meet outside, in his van parked in a nearby parking lot reserved for the club’s customers. They meet briefly in the van, and Cassidy is obviously not at ease dropping her mask of professional performer in order to transit to the confidante and lover role. We learn from this encounter and later that both have suffered from failures and dysfunctional lives—and who hasn’t?—Randy is portrayed, even by his own daughter, that he’s a failed father, who was always absent in the most crucial moments, while Cassidy has a nine-year old son from a failed relationship. When Randy manages to convince her for a “one-beer” deal in a bar (after shopping for a present for Randy’s daughter), Cassidy had to cut short on Randy’s kiss, and offer for another drink. “You still see me as a stripper,” was one of her takes on Randy, and “I can’t mix my professional life with that of my customers,” was her second one. Here’s the core of the film now fully developed: Cassidy’s blatant fear of “mixing” the two lives—the personal and the professional. The professional implies ritualistic encounters and distance: keeping those men at distance is a prime professional ritual. Then there’s the money, and in stripping it comes piecemeal, all based on bodily performance and nothing but performance. Same thing for Randy: the ring protects him from the audience-cum-mob through a professional relation of pure performance, which brings him the income he needs for survival (at the beginning, his landlord manager locks him out for one night for defaulting on his payments). When Randy realizes the pain of personal relationships and their futile nature, he returns, in a sudden shift, to what was obviously his last performance. He dies performing, throwing himself at an “audience” that looks more and more like a mob of bloggers, rather than a real “public” in the conventional nineteenth-century sense. That was the only time that Cassidy drove in the emptiness of the New Jersey suburban landscape to meet Randy in his professional milieu, as if she was indebted to him in a way she couldn’t figure out: to see him burn himself out to death on the ring with his cherished “audience.”
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